Bobby Adamson walked over to a coat closet in the entrancy of his comfortable home in Exeter, California and pulled out a garishly colored jacket and trousers. He held them up, displaying them with pride. Golden yellow in color, the suit was decorated with strappings of California’s San Joaquin Valley, icons which were no different from any other farming community in 1950s America : husks of corn, bales of hay, and barefooted, overalled farmers carrying buckets. The suit was designed for Adamson by Nudie Cohen, rodeo taylor for stars. In those days, a Nudie suit was the mark of stardom for country and western performers ranging from the Maddox Brothers and Rose to Elvis Presley. In the mid-50s Bobby Adamson was a member of this select fraternity of celebrities, for he and his boyhood friend Woody Wayne Murray were the Farmer Boys, a talented vocal duo whose brief moment in the spotlight lasted for only a few years before being obliterated by the coming of rock and roll. Despite recording for the prestigious Capitol Records label and touring with stars of the Grand Ole Opry as well as Elvis Presley himself, the Farmer Boys are never mentioned in the annals of country music history. Yet the Farmer Boys helped popularize the distinct and provocative « Bakersfield Sound » that lives on today in the music of Merle Haggard and Dwight Yoakam. (more…)
James Arthur “Jimmie Heap” (later Jimmy) was born March 3rd, 1922 in Taylor, Tx. He died at only 55 on December 3rd, 1977, on account of a boat accident in Lake Buchanan. His corpse was rescued only one day after.
Jimmie’s career did begin shortly after discharge from U.S.A.F. during WWII, more exactly said in 1947. Arlie Carter (piano), Horace Barnett (rhythm guitar), “Big” Bill Glendenings (bass) and Louis Renson (or Rencon) (fiddle), all belonged to the Melody Masters right from the start. Later they were joined by Cecil R. “Butterball” Harris (steel-guitar). Indeed Jimmie Heap was on vocal and lead guitar.
With appearances on radio KTAE (from 1948 to 1956) and in clubs, they were always fully booked up. A Barnett composition about a club they were frequently playing at, “Dessau Hall Waltz” soon found the interest of Lasso Records, who cut the band during the Spring of 1948. Their first singles appeared therefore on this tiny label. They even had leased masters on 4 Star, wrongly credited to “Dolores & Blue Bonnet Boys”. (more…)